LPO/Marquee TV digital concert programme: Rachmaninoff's First - 18 February 2023

2022/23 concert season

Filmed live at the Southbank Centre’s Royal Festival Hall

Rachmaninoff’s First

Broadcast Saturday 18 February 2023

Digital concert programme

Kinan Azmeh Wedding

Kinan Azmeh Clarinet Concerto (UK premiere)

Rachmaninoff Symphony No. 1 in D minor

Enrique Mazzola conductor

Kinan Azmeh clarinet

London Philharmonic Orchestra on Marquee TV

Contents

Click on the headings to jump to a section

3 On stage

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 Enrique Mazzola

7 Kinan Azmeh

8 Programme notes: Azmeh

10 Programme notes: Rachmaninoff

12 LPO 90th Birthday Appeal

13 Marquee TV

14 LPO 2022/23 concert season

15 Sound Futures donors

16 Thank you

18 LPO administration

Concert performed at the Southbank Centre’s Royal Festival Hall on 18 January 2023 and filmed by Intersection. Concert generously supported by Cockayne – Grants for the Arts and The London Community Foundation. The LPO would like to acknowledge the generosity of all of its members, supporters and donors. Thank you for your support.

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe

Alfredo Reyes Logounova

Yang Zhang

Chair supported by Eric Tomsett

Katalin Varnagy

Chair supported by Sonja Drexler

Catherine Craig

Elizaveta Tyun

Martin Höhmann

Ruth Schulten

Ricky Gore

Rasa Zukauskaite

Jamie Hutchinson

Ronald Long

Kay Chappell

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Helena Smart

Claudia Tarrant-Matthews

Fiona Higham

Chair supported by David & Yi

Buckley

Ashley Stevens

Nancy Elan

Joseph Maher

Nynke Hijlkema

Sioni Williams

Kate Cole

Sheila Law

Jessica Coleman

Erzsébet Rácz

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Lucia Ortiz Sauco

Katharine Leek

Martin Wray

Benedetto Pollani

Laura Vallejo

Jisu Song

Stanislav Popov

Toby Warr

On stage

Jill Valentine

Richard Cookson

Daniel Cornford

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart Roden

Jonathan Ayling

David Lale

Francis Bucknall

Sue Sutherley

Susanna Riddell

Tom Roff

Helen Thomas

George Hoult

Sibylle Hentschel

Double Basses

Kevin Rundell* Principal

Sebastian Pennar

Co-Principal

Hugh Kluger

George Peniston

Laura Murphy

Lowri Morgan

Charlotte Kerbegian

Adam Wynter

Flutes

Katie Bedford

Guest Principal

Imogen Royce

Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal

Alice Munday

Clarinets

Benjamin Mellefont

Principal

Thomas Watmough

Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Helen Simons

Horns

Annemarie Federle Principal

John Ryan* Principal

Martin Hobbs

Duncan Fuller

Gareth Mollison

Trumpets

Paul Beniston* Principal

Tom Nielsen Guest Principal

Anne McAneney*

Trombones

Mark Templeton* Principal Chair supported by William & Alex

de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey

OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf

Collins

Erika Öhman

Karen Hutt

Keith Millar

Feargus Brennan

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporter whose player is not present at this concert:

Dr Barry Grimaldi

Welcome to Annemarie Federle, who joined the Orchestra as Joint Principal Horn in January 2023. Annemarie was winner of the 2020 BBC Young Musician Brass category, and in April 2022, aged just 20, she stepped in at the last minute as the soloist in Knussen’s Horn Concerto with the LPO at the Royal Festival Hall, receiving stellar reviews for her ‘astonishingly assured’ performance (The Guardian). We’re thrilled to welcome her as an LPO member!

London Philharmonic Orchestra

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Sharing the wonder

We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence, to be succeeded by Tania León in September 2023.

Soundtrack to key moments

Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under

© Benjamin Ealovega

Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Today’s young instrumentalists are the orchestral members of the future, so we have a number of opportunities to support their progression. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We have also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds currently under-represented in the profession.

2022/23 and beyond

We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

lpo.org.uk

Pieter Schoeman Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

© Benjamin Ealovega

Enrique Mazzola conductor

of the Age of Enlightenment, Oslo Philharmonic, New Japan Philharmonic, Taipei Symphony, Utah Symphony, Detroit Symphony, Luxembourg Philharmonic, Brussels Philharmonic, Staatsphilharmonie Nürnberg and Swedish Radio Symphony Orchestra. Return engagements have included the Metropolitan Opera, Opernhaus Zurich, Bregenz Festival, Scottish Chamber Orchestra, Vienna Symphony, Quebec Symphony Orchestra and São Paulo State Symphony Orchestra.

Renowned as an expert interpreter and champion of bel canto opera and a specialist in French repertoire and early Verdi, Italian conductor Enrique Mazzola is in demand worldwide as both an operatic and a symphonic conductor. He is Music Director at Lyric Opera of Chicago and Principal Guest Conductor at Deutsche Oper Berlin. In May 2022 he was named the first ever Conductor-in-Residence at the Bregenz Festival. From 2012–19 he served as Artistic & Music Director of the Orchestre National d’Île de France (ONDIF). Reflecting his significant contribution to musical life in France, he was made a Chevalier de l’ordre des Arts et des Lettres in 2018.

Plans for the 2022/23 season with Lyric Opera of Chicago include productions of Verdi’s Ernani and Don Carlos, Rossini’s Le comte Ory, and the Chicago premiere of Kevin Puts’s The Brightness of Light with Renée Fleming and Rod Gilfry. This season also sees return engagements with the Orchestre National de France and the Detroit Symphony. On the operatic stage, Enrique will return to the Opernhaus Zurich (Roberto Devereux), Dutch National Opera (Maria Stuarda), Deutsche Oper Berlin (Massenet’s Hérodiade in concert) and the Bregenz Festival (Madama Butterfly and Ernani).

Enrique Mazzola last appeared with the LPO in April 2022, when he conducted a gala concert of opera highlights with soprano Renée Fleming at the Royal Festival Hall. Recent seasons have also included debuts at the Salzburg Festspiele (Orphée aux Enfers), Vienna State Opera (Don Pasquale), Dutch National Opera (Anna Bolena, Donizetti Queens in Concert), Orchestre National du Capitole de Toulouse, Philharmonia Orchestra, Royal Scottish National Orchestra, Orchestra

Enrique is a regular guest at Glyndebourne Festival Opera, where he has conducted the LPO in productions of Don Pasquale, Poliuto, L’elisir d’amore, Luisa Miller and Il barbiere di Siviglia, the latter of which he also presented in concert at the 2016 BBC Glyndebourne Prom. Other opera credits include the Teatro del Maggio Musicale, Florence (L’italiana in Algeri); New National Theatre, Tokyo (Don Giovanni); Opera du Rhin (Macbeth, La Cenerentola); and Teatro alla Scala (Don Pasquale). European festivals have included Falstaff at Aix-en-Provence, the Festival de Radio France et Montpellier, the Enescu Festival and the Haydn Festival with ONDIF; Bregenz, Salzburg and the BBC Proms with the Glyndebourne production of Il barbiere di Siviglia; and the Munich Opera Festival, Rossini Opera Festival, Biennale of Venice, Wexford Opera Festival, Festival de Granada and Les Chorégies d’Orange. From 1999–2003 Enrique was Artistic and Music Director of the Cantiere Internazionale d’Arte in Montepulciano, where he conducted many symphonic concerts and new operatic productions with the Royal Northern College of Music Symphony Orchestra.

An accomplished interpreter of contemporary music, Enrique commissioned and premiered several works with ONDIF, and led many other premieres with major European orchestras. Opera credits also include the world premiere of Colla’s Il processo (La Scala); Il re nudo by Luca Lombardi (Teatro dell’Opera di Roma), Medusa by Arnaldo de Felice (Bavarian State Opera) and Isabella by Azio Corghi (Rossini Opera Festival).

Enrique has regularly devoted time to working with young musicians, including at the Accademia Teatro alla Scala, Académie de l’Opéra national de Paris, Opéra Studio de l’Opéra national du Rhin, Accademia del Maggio Musicale Fiorentino, Ryan Opera Center and Codarts of Rotterdam, and has given conducting masterclasses for the students of the Conservatoire National Supérieur de Musique de Paris and the Conservatoire National Supérieur de Musique et de Danse de Lyon.

© Jean-Baptiste Millot

Kinan Azmeh composer/clarinet

Hailed as ‘intensely soulful’ and a ‘virtuoso’ by The New York Times, and winner of an Opus Klassik Award in 2019, clarinettist and composer Kinan Azmeh has gained international recognition for his rich sound and his distinctive compositional voice across diverse musical genres. Originally from Damascus, Syria, Kinan takes his music to all corners of the world as a soloist, composer and improviser. Notable appearances have included at the Opera Bastille, Paris; Tchaikovsky Grand Hall, Moscow; Carnegie Hall and the UN General Assembly, New York; London’s Royal Albert Hall; Teatro Colón, Buenos Aires; the Berlin Philharmonie; the Library of Congress and the Kennedy Center, Washington DC; the Salzburg Mozarteum; Hamburg’s Elbphilharmonie; and in his native Syria at the opening concert of the Damascus Opera House.

Kinan has appeared as a soloist with the New York Philharmonic, the Seattle Symphony, the Bavarian Radio Orchestra, the Dusseldorf Symphony, the West-Eastern Divan Orchestra, the Qatar Philharmonic and the Syrian Symphony Orchestra, among others, and has shared the stage with such musical luminaries as Yo-Yo Ma, Daniel Barenboim, Marcel Khalife, John McLaughlin, François Rabbath Aynur and Djivan Gasparyan.

Kinan’s compositions include several works for solo instruments, chamber and orchestral music, as well as music for film, live illustration and electronics. Recent works were commissioned by the New York Philharmonic, the Seattle Symphony, The Knights, the Saint Paul Chamber Orchestra, Apple Hill String Quartet, Quatuor Voce, Brooklyn Rider, Cello Octet Amsterdam,

the Aizuri Quartet and Bob Wilson. An advocate for new music, several concertos have been dedicated to Kinan by composers such as Kareem Roustom, Dia Succari, Dinuk Wijeratne, Zaid Jabri, Saad Haddad and Guus Janssen, in addition to a large number of chamber works. In addition to his own Arab-Jazz Quartet CityBand and his Hewar Trio, since 2012 Kinan has also played with the Silkroad Ensemble, whose 2017 Grammy Award-winning album ‘Sing Me Home’ features Kinan as clarinettist and composer.

Kinan Azmeh is a graduate of New York’s Juilliard School as a student of Charles Neidich, and of both the Damascus High institute of Music, where he studied with Shukry Sahwki, Nicolay Viovanof and Anatoly Moratof, and Damascus University’s School of Electrical Engineering. He earned his doctorate degree in music from the City University of New York in 2013.

Kinan Azmeh’s first opera, Songs for Days to Come, which is fully sung in Arabic, was premiered in June 2022 in Osnabruck, Germany to great acclaim, and Kinan has recently been appointed to the National Council for the Arts following a nomination by President Joe Biden.

© Liudmila Jeremies

Programme notes

Kinan Azmeh born 1976 Wedding 2008

Kinan Azmeh clarinet

‘Wedding’ is the last movement of my Suite for Improvisor and Orchestra. It is made up of two contrasting sections: a calm one, followed by a fast and energetic one. It tries to capture the general mood and the spirit found in a Syrian village wedding party, which are usually held in the public square for everyone to attend. These parties are always exciting and never predictable. This piece is dedicated to all of those who manage to fall in love in times of atrocities. Falling in love seems to be one of the very few human rights that no authority can take away.

Kinan Azmeh © Liudmila Jeremies

Programme notes

Kinan Azmeh born 1976

Clarinet Concerto 2018 (UK premiere)

Kinan Azmeh clarinet

It was in 2017, less than a week after President Trump issued his infamous travel ban, that the Seattle Symphony got in touch with me and invited me to take part in a concert called ‘Music Beyond Borders’, celebrating the cultures and people of the seven Muslim-majority countries whose citizens were temporarily banned from entering the US. While I was on stage performing my Suite for Improvisor and Orchestra in Seattle that night on 8 February 2017, I kept thinking what a rollercoaster of a week that was; within seven days I managed to experience the thrill of performing at the new Elbphilharmonie in Hamburg, the familiarity of being very close to home playing the Mozart Clarinet Concerto in Beirut, the worry and anger that come with being stranded somewhere and not allowed to go home, and finally the relief of returning back to my apartment in New York, thanks to a block to the presidential executive order by Washington’s Attorney General.

These thoughts were about home; my home in Syria, my country’s men and women, my home in New York, my extended community here in the US, and all of those who spoke up against injustice everywhere.

When Classical Movements commissioned me to write a clarinet concerto for the Seattle Symphony’s 2018/19 season, all I wanted was to write a piece that would enjoy a lot of freedom. Therefore, what I have scored here is a piece that is free from any programmatic or autobiographical information. The only summary that can be given here is that there is an introduction, there is a lullaby, and there is an ecstatic dance in one of my favourite rhythms in Arabic music, called ‘Katakufti’ or ‘Nawari,’ and in a similar fashion to many of my earlier works, the soloist has lots of room to improvise.

I am very grateful to the Seattle Symphony and Classical Movements for bringing this piece to life and for making me feel at home thousands of miles away from home, and who reminded me that small gestures of solidarity can travel far, freely!

Kinan Azmeh, Iowa City, 2018

Programme notes

Serge Rachmaninoff

1873–1943

Symphony No. 1 in D minor, Op. 13 1895

1 Grave – Allegro ma non troppo

2 Allegro animato

3 Larghetto

4 Allegro con fuoco

It is one of music history’s most famous fiascos. 27 March 1897, and the promising young composer Serge Rachmaninoff – who at the age of 24 has already produced a piano concerto, a number of piano and chamber compositions and a well-received one-act opera – delivers his first full-scale symphony to almost unanimous derision. The images of him lurking on an iron spiral staircase in the wings of the St Petersburg Philharmonic Hall while the most important premiere of his career heads for spectacular failure, and then hurrying out of the building by a back exit without taking a bow or speaking to anyone, are vivid and distressing. One can well imagine that many other composers of his age would have found it an ordeal from which there was no recovery.

For Rachmaninoff, the well-known end to the story is that he locked the score away before enduring a three-year crisis of confidence that only a course of hypnosis eventually dispelled, freeing him to achieve a resounding comeback success with the Second Piano Concerto. Yet there are signs that his mental turmoil was mixed with a measure of clear-eyed detachment; only two months after that premiere he was writing to a friend: ‘I am not at all affected by its lack of success, nor am I disturbed by the newspapers’ abuse; but I am deeply upset and heavily depressed by the fact that my Symphony, though I loved it very much, and love it now, did not please me at all after its first rehearsal.’ Having gone on to assign some of the blame (apparently with some justification) to the inept conducting of Alexander Glazunov, he concludes ‘I will not reject this Symphony,

Programme notes

and after leaving it alone for six months I’ll look at it, perhaps correct it, and perhaps publish it, but perhaps by then my partiality for it will have passed. Then I’ll tear it up.’

Maybe he did, eventually. Although he talked briefly of revising the work in 1908 and mentioned its existence again in a letter of 1917, his own score has never been found. In 1945, however, two years after his death, the original orchestral parts were discovered, enabling the Symphony to receive a second performance, this time in Moscow. A full score reassembled from these parts was published in 1947, since when this bright, youthful and in places exhilarating work has slowly but surely made its way into the repertoire.

Listening to the Symphony today, it is hard to see quite how it could have stirred up such intemperate reviews as that of the composer César Cui, whose description of it as a grotesque amalgam of Wagner, Tchaikovsky and Rimsky-Korsakov was only the most polite of his assessments. Rachmaninoff later admitted that the work contained ‘much that is weak, childish, strained and bombastic’, but maintained nevertheless that it had ‘some good music’. Probably few would deny that now, and if there are places where it can seem to lose its way, and others which may have sounded brash and disjointed to the ears of the 1890s, it is certainly true that this is a work whose striking personality is easily recognisable as that of Rachmaninoff.

It is also a work of considerable motivic economy. Within a minute of the start we have heard most of the melodic fragments that will audibly dominate all four movements – the tight little curl of the first four woodwind notes, the five-note figure that follows immediately in the strings, a rippling semiquaver response first heard in the lower strings. Later, a longer undulating theme announced by a solo oboe after a winding, rhapsodic lead-in from the violins, is also significant. The central development is inaugurated by an orchestral ‘crash’ (based on the curling figure) and a vigorous fugue, and the main themes are then recapitulated with changed scoring, before another crash kicks off the long coda.

The curling figure returns to open the second movement, as it will do the third and fourth. In this case what follows is a scherzo with the characteristic light touch recognisable to anyone familiar with Rachmaninoff’s later music. If there is a feeling that the gloomy middle section of the slow third movement flags a little, surely few could find anything to criticise in the long-breathed, oriental-tinged woodwind melodies of its outer sections. The finale contains one of the Symphony’s most exciting and inspired passages in the fanfare-laden, martial extension of the first movement’s five-note theme, and Rachmaninoff shows considerable restraint in not bringing it back. Instead he opts to alternate rhythmic drive with broadly yearning Romantic melody, surging to a crashing tam-tam climax which clears the way for a slow but massively intense coda.

On the LPO Label

Programme note © Lindsay Kemp

Rachmaninoff The Isle of the Dead Rachmaninoff Symphony No. 1

Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0111

Available to buy on CD, and to download or stream via Spotify, Apple Music, Idagio and others. Click to listen now or find out more.

‘An impressive concert performance conducted by Vladimir Jurowski, who allows the emotional depth of the work to emerge without overwhelming the composer's youthful passion and impetuosity.’

Andrew McGregor, BBC Radio 3 Record Review

Annual Appeal 2023

Celebrating 90 years & counting

We cherish our heritage and are committed to keeping the next 90 years exciting, dynamic and inclusive. Donate now, as we continue to make history in the present by offering life-enriching musical experiences for everyone, investing in the next generation of talent, commissioning masterworks of the future and reaching more communities around the UK, especially in Brighton and Eastbourne.

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Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures

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Ladanyi-Czernin

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and all other donors who wish to remain anonymous

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

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David Burke & Valerie Graham

John & Sam Dawson

Bruno De Kegel

Ulrike & Benno Engelmann

Virginia Gabbertas MBE

Dmitry & Ekaterina Gursky

The Jeniffer & Jonathan Harris

Charitable Trust

Catherine Høgel & Ben Mardle

Sir George Iacobescu

Jamie & Julia Korner

Mr & Mrs Makharinsky

Mr Nikita Mishin

Andrew Neill

Tom & Phillis Sharpe

Mr & Mrs John & Susi Underwood

Laurence Watt

Bronze Patrons

Anonymous donors

Michael Allen

Mr Mark Astaire

Nicholas & Christine Beale

Mikhail Noskov & Vasilina Bindley

Mr Anthony Blaiklock

Lorna & Christopher Bown

Mr Bernard Bradbury

Simon Burke & Rupert King

Desmond & Ruth Cecil

Mr Evgeny Chichvarkin

Mr John H Cook

Georgy Djaparidze

Deborah Dolce

Cameron & Kathryn Doley

Mariana Eidelkind & Gene

Moldavsky

David Ellen

Ben Fairhall

Mr Richard & Helen Gillingwater

Mr Daniel Goldstein

David & Jane Gosman

Mr Gavin Graham

Lord & Lady Hall

Mrs Dorothy Hambleton

Martin & Katherine Hattrell

Michael & Christine Henry

Mr Steve Holliday

J Douglas Home

Mr & Mrs Ralph Kanza

Mrs Elena & Mr Oleg Kolobov

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE

JP RAF

Drs Frank & Gek Lim

Mr Nicholas Little

Geoff & Meg Mann

Mrs Elizabeth Meshkvicheva

Andrew T Mills

Peter & Lucy Noble

Mr Roger Phillimore

Mr Michael Posen

Mr Anthony Salz

Ms Nadia Stasyuk

Charlotte Stevenson

Joe Topley

Mr & Mrs John C Tucker

Timothy Walker CBE AM

Jenny Watson CBE

Grenville & Krysia Williams

Principal Supporters

Anonymous donors

Dr Manon Antoniazzi

Julian & Annette Armstrong

Mr John D Barnard

Mr Geoffrey Bateman

Mr Philip Bathard-Smith

Mrs A Beare

Dr Anthony Buckland

Dr Simona Cicero & Mr Mario

Altieri

Mr Peter Coe

Mrs Pearl Cohen

David & Liz Conway

Mr Alistair Corbett

Ms Mary Anne Cordeiro

Ms Elena Dubinets

Mr Richard Fernyhough

Jason George

Mr Christian Grobel

Prof Emeritus John Gruzelier

Mark & Sarah Holford

Mrs Maureen Hooft-Graafland

Per Jonsson

Mr Ian Kapur

Ms Kim J Koch

Ms Elena Lojevsky

Mrs Terry Neale

John Nickson & Simon Rew

Oliver & Josie Ogg

Ms Olga Ovenden

Mr James Pickford

Filippo Poli

Sir Bernard Rix

Mr Robert Ross

Priscylla Shaw

Martin & Cheryl Southgate

Mr & Mrs G Stein

Dr Peter Stephenson

Joanna Williams

Christopher Williams

Ms Elena Ziskind

Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr & Mrs Robert Auerbach

Mrs Julia Beine

Harvey Bengen

Miss YolanDa Brown OBE

Miss Yousun Chae

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Joshua Coger

Miss Tessa Cowie

Mr David Devons

Patricia Dreyfus

Mr Martin Fodder

Christopher Fraser OBE

Will Gold

Ray Harsant

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Dame Jane Newell DBE

Mr Stephen Olton

Mari Payne

Mr David Peters

Ms Edwina Pitman

Mr & Mrs Graham & Jean Pugh

Mr Giles Quarme

Mr Kenneth Shaw

Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

The Friends of the LPO

Irina Gofman

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Countess Dominique Loredan

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg

Carter-Ruck

French Chamber of Commerce

Tutti

Lazard

Natixis Corporate Investment

Banking

Walpole

Trialist

Sciteb

Preferred Partners

Gusbourne Estate

Jeroboams

Lindt & Sprüngli Ltd

OneWelbeck

Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

The Marchus Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

Board of the American Friends of the LPO

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wasserman

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO

International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

Simon Freakley (Ex officio –Chairman of the American Friends of the London

Philharmonic Orchestra)

*Player-Director

Advisory Council

Martin Höhmann Chairman

Christopher Aldren

Dr Manon Antoniazzi

Roger Barron

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Nicholas Snowman OBE

Barry Smith

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood

Concerts and Recordings Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Maddy Clarke Tours Manager

Alison Jones

Concerts and Recordings Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme

Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Greg Felton

Digital Creative

Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Marketing Assistant

Archives

Philip Stuart

Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk lpo.org.uk

Cover photo

Silent Studio © James Wicks